| Great Smoky Mountains [Conducteur] Theodore Presser Co.
Band Bass Clarinet, Bassoon 1, Bassoon 2, Clarinet, Clarinet 1, Clarinet 2, Clar...(+)
Band Bass Clarinet,
Bassoon 1, Bassoon 2,
Clarinet, Clarinet 1,
Clarinet 2, Clarinet 3,
Contrabass Clarinet,
Contrabassoon, Double
Bass, English Horn,
Euphonium, Flute 1, Flute
2, Horn 1, Horn 2, Horn
3, Horn 4, Oboe 1, Oboe
2, Percussion 1 and more.
SKU: PR.16500102F
Mvt. 2 from Symphony
No. 6 (Three Places in
the East). Composed
by Dan Welcher. Full
score. 52 pages. Theodore
Presser Company
#165-00102F. Published by
Theodore Presser Company
(PR.16500102F). ISBN
9781491131749. UPC:
680160680276. Ever
since the success of my
series of wind ensemble
works Places in the West,
I've been wanting to
write a companion piece
for national parks on the
other side of the north
American continent. The
earlier work, consisting
of GLACIER, THE
YELLOWSTONE FIRES,
ARCHES, and ZION, spanned
some twenty years of my
composing life, and since
the pieces called for
differing groups of
instruments, and were in
slightly different styles
from each other, I never
considered them to be
connected except in their
subject matter. In their
depiction of both the
scenery and the human
history within these
wondrous places, they had
a common goal: awaking
the listener to the
fragile beauty that is in
them; and calling
attention to the ever
more crucial need for
preservation and
protection of these wild
places, unique in all the
world. With this new
work, commissioned by a
consortium of college and
conservatory wind
ensembles led by the
University of Georgia, I
decided to build upon
that same model---but to
solidify the process. The
result, consisting of
three movements (each
named for a different
national park in the
eastern US), is a
bona-fide symphony. While
the three pieces could be
performed separately,
they share a musical
theme---and also a common
style and
instrumentation. It is a
true symphony, in that
the first movement is
long and expository, the
second is a rather
tightly structured
scherzo-with-trio, and
the finale is a true
culmination of the whole.
The first movement,
Everglades, was the
original inspiration for
the entire symphony.
Conceived over the course
of two trips to that
astonishing place (which
the native Americans
called River of Grass,
the subtitle of this
movement), this movement
not only conveys a sense
of the humid, lush, and
even frightening scenery
there---but also an
overview of the entire
settling-of- Florida
experience. It contains
not one, but two native
American chants, and also
presents a view of the
staggering influence of
modern man on this
fragile part of the
world. Beginning with a
slow unfolding marked
Heavy, humid, the music
soon presents a gentle,
lyrical theme in the solo
alto saxophone. This
theme, which goes through
three expansive phrases
with breaks in between,
will appear in all three
movements of the
symphony. After the mood
has been established, the
music opens up to a rich,
warm setting of a
Cherokee morning song,
with the simple happiness
that this part of Florida
must have had prior to
the nineteenth century.
This music, enveloping
and comforting, gradually
gives way to a more
frenetic, driven section
representative of the
intrusion of the white
man. Since Florida was
populated and developed
largely due to the
introduction of a train
system, there's a
suggestion of the
mechanized iron horse
driving straight into the
heartland. At that point,
the native Americans
become considerably less
gentle, and a second
chant seems to stand in
the way of the intruder;
a kind of warning song.
The second part of this
movement shows us the
great swampy center of
the peninsula, with its
wildlife both in and out
of the water. A new theme
appears, sad but noble,
suggesting that this land
is precious and must be
protected by all the
people who inhabit it. At
length, the morning song
reappears in all its
splendor, until the
sunset---with one last
iteration of the warning
song in the solo piccolo.
Functioning as a scherzo,
the second movement,
Great Smoky Mountains,
describes not just that
huge park itself, but one
brave soul's attempt to
climb a mountain there.
It begins with three
iterations of the
UR-theme (which began the
first movement as well),
but this time as up-tempo
brass fanfares in
octaves. Each time it
begins again, the theme
is a little slower and
less confident than the
previous time---almost as
though the hiker were
becoming aware of the
daunting mountain before
him. But then, a steady,
quick-pulsed ostinato
appears, in a constantly
shifting meter system of
2/4- 3/4 in alteration,
and the hike has begun.
Over this, a slower new
melody appears, as the
trek up the mountain
progresses. It's a big
mountain, and the ascent
seems to take quite
awhile, with little
breaks in the hiker's
stride, until at length
he simply must stop and
rest. An oboe solo, over
several free cadenza-like
measures, allows us (and
our friend the hiker) to
catch our breath, and
also to view in the
distance the rocky peak
before us. The goal is
somehow even more
daunting than at first,
being closer and thus
more frighteningly steep.
When we do push off
again, it's at a slower
pace, and with more
careful attention to our
footholds as we trek over
broken rocks. Tantalizing
little views of the
valley at every
switchback make our
determination even
stronger. Finally, we
burst through a stand of
pines and----we're at the
summit! The immensity of
the view is overwhelming,
and ultimately humbling.
A brief coda, while we
sit dazed on the rocks,
ends the movement in a
feeling of triumph. The
final movement, Acadia,
is also about a trip. In
the summer of 2014, I
took a sailing trip with
a dear friend from North
Haven, Maine, to the
southern coast of Mt.
Desert Island in Acadia
National Park. The
experience left me both
exuberant and exhausted,
with an appreciation for
the ocean that I hadn't
had previously. The
approach to Acadia
National Park by water,
too, was thrilling: like
the difference between
climbing a mountain on
foot with riding up on a
ski-lift, I felt I'd
earned the right to be
there. The music for this
movement is entirely
based on the opening
UR-theme. There's a sense
of the water and the
mysterious, quiet deep
from the very beginning,
with seagulls and bell
buoys setting the scene.
As we leave the harbor,
the theme (in a canon
between solo euphonium
and tuba) almost seems as
if large subaquatic
animals are observing our
departure. There are
three themes (call them
A, B and C) in this
seafaring journey---but
they are all based on the
UR theme, in its original
form with octaves
displaced, in an
upside-down form, and in
a backwards version as
well. (The ocean, while
appearing to be
unchanging, is always
changing.) We move out
into the main channel
(A), passing several
islands (B), until we
reach the long draw that
parallels the coastline
called Eggemoggin Reach,
and a sudden burst of new
speed (C). Things
suddenly stop, as if the
wind had died, and we
have a vision: is that
really Mt. Desert Island
we can see off the port
bow, vaguely in the
distance? A chorale of
saxophones seems to
suggest that. We push off
anew as the chorale ends,
and go through all three
themes again---but in
different
instrumentations, and
different keys. At the
final tack-turn, there it
is, for real: Mt. Desert
Island, big as life.
We've made it. As we pull
into the harbor, where
we'll secure the boat for
the night, there's a
feeling of achievement.
Our whale and dolphin
friends return, and we
end our journey with
gratitude and
celebration. I am
profoundly grateful to
Jaclyn Hartenberger,
Professor of Conducting
at the University of
Georgia, for leading the
consortium which provided
the commissioning of this
work. $36.99 - Voir plus => AcheterDélais: 2 to 3 weeks | | |
| Symphony No. 6 [Conducteur] Theodore Presser Co.
Band SKU: PR.16500104F Three Places in the East. Composed by Dan W...(+)
Band SKU:
PR.16500104F Three
Places in the East.
Composed by Dan Welcher.
Full score. Theodore
Presser Company
#165-00104F. Published by
Theodore Presser Company
(PR.16500104F). ISBN
9781491132159. UPC:
680160681082. Ever
since the success of my
series of wind ensemble
works Places in the West,
I've been wanting to
write a companion piece
for national parks on the
other side of the north
American continent. The
earlier work, consisting
of GLACIER, THE
YELLOWSTONE FIRES,
ARCHES, and ZION, spanned
some twenty years of my
composing life, and since
the pieces called for
differing groups of
instruments, and were in
slightly different styles
from each other, I never
considered them to be
connected except in their
subject matter. In their
depiction of both the
scenery and the human
history within these
wondrous places, they had
a common goal: awaking
the listener to the
fragile beauty that is in
them; and calling
attention to the ever
more crucial need for
preservation and
protection of these wild
places, unique in all the
world. With this new
work, commissioned by a
consortium of college and
conservatory wind
ensembles led by the
University of Georgia, I
decided to build upon
that same model---but to
solidify the process. The
result, consisting of
three movements (each
named for a different
national park in the
eastern US), is a
bona-fide symphony. While
the three pieces could be
performed separately,
they share a musical
theme---and also a common
style and
instrumentation. It is a
true symphony, in that
the first movement is
long and expository, the
second is a rather
tightly structured
scherzo-with-trio, and
the finale is a true
culmination of the whole.
The first movement,
Everglades, was the
original inspiration for
the entire symphony.
Conceived over the course
of two trips to that
astonishing place (which
the native Americans
called River of Grass,
the subtitle of this
movement), this movement
not only conveys a sense
of the humid, lush, and
even frightening scenery
there---but also an
overview of the entire
settling-of- Florida
experience. It contains
not one, but two native
American chants, and also
presents a view of the
staggering influence of
modern man on this
fragile part of the
world. Beginning with a
slow unfolding marked
Heavy, humid, the music
soon presents a gentle,
lyrical theme in the solo
alto saxophone. This
theme, which goes through
three expansive phrases
with breaks in between,
will appear in all three
movements of the
symphony. After the mood
has been established, the
music opens up to a rich,
warm setting of a
Cherokee morning song,
with the simple happiness
that this part of Florida
must have had prior to
the nineteenth century.
This music, enveloping
and comforting, gradually
gives way to a more
frenetic, driven section
representative of the
intrusion of the white
man. Since Florida was
populated and developed
largely due to the
introduction of a train
system, there's a
suggestion of the
mechanized iron horse
driving straight into the
heartland. At that point,
the native Americans
become considerably less
gentle, and a second
chant seems to stand in
the way of the intruder;
a kind of warning song.
The second part of this
movement shows us the
great swampy center of
the peninsula, with its
wildlife both in and out
of the water. A new theme
appears, sad but noble,
suggesting that this land
is precious and must be
protected by all the
people who inhabit it. At
length, the morning song
reappears in all its
splendor, until the
sunset---with one last
iteration of the warning
song in the solo piccolo.
Functioning as a scherzo,
the second movement,
Great Smoky Mountains,
describes not just that
huge park itself, but one
brave soul's attempt to
climb a mountain there.
It begins with three
iterations of the
UR-theme (which began the
first movement as well),
but this time as up-tempo
brass fanfares in
octaves. Each time it
begins again, the theme
is a little slower and
less confident than the
previous time---almost as
though the hiker were
becoming aware of the
daunting mountain before
him. But then, a steady,
quick-pulsed ostinato
appears, in a constantly
shifting meter system of
2/4- 3/4 in alteration,
and the hike has begun.
Over this, a slower new
melody appears, as the
trek up the mountain
progresses. It's a big
mountain, and the ascent
seems to take quite
awhile, with little
breaks in the hiker's
stride, until at length
he simply must stop and
rest. An oboe solo, over
several free cadenza-like
measures, allows us (and
our friend the hiker) to
catch our breath, and
also to view in the
distance the rocky peak
before us. The goal is
somehow even more
daunting than at first,
being closer and thus
more frighteningly steep.
When we do push off
again, it's at a slower
pace, and with more
careful attention to our
footholds as we trek over
broken rocks. Tantalizing
little views of the
valley at every
switchback make our
determination even
stronger. Finally, we
burst through a stand of
pines and----we're at the
summit! The immensity of
the view is overwhelming,
and ultimately humbling.
A brief coda, while we
sit dazed on the rocks,
ends the movement in a
feeling of triumph. The
final movement, Acadia,
is also about a trip. In
the summer of 2014, I
took a sailing trip with
a dear friend from North
Haven, Maine, to the
southern coast of Mt.
Desert Island in Acadia
National Park. The
experience left me both
exuberant and exhausted,
with an appreciation for
the ocean that I hadn't
had previously. The
approach to Acadia
National Park by water,
too, was thrilling: like
the difference between
climbing a mountain on
foot with riding up on a
ski-lift, I felt I'd
earned the right to be
there. The music for this
movement is entirely
based on the opening
UR-theme. There's a sense
of the water and the
mysterious, quiet deep
from the very beginning,
with seagulls and bell
buoys setting the scene.
As we leave the harbor,
the theme (in a canon
between solo euphonium
and tuba) almost seems as
if large subaquatic
animals are observing our
departure. There are
three themes (call them
A, B and C) in this
seafaring journey---but
they are all based on the
UR theme, in its original
form with octaves
displaced, in an
upside-down form, and in
a backwards version as
well. (The ocean, while
appearing to be
unchanging, is always
changing.) We move out
into the main channel
(A), passing several
islands (B), until we
reach the long draw that
parallels the coastline
called Eggemoggin Reach,
and a sudden burst of new
speed (C). Things
suddenly stop, as if the
wind had died, and we
have a vision: is that
really Mt. Desert Island
we can see off the port
bow, vaguely in the
distance? A chorale of
saxophones seems to
suggest that. We push off
anew as the chorale ends,
and go through all three
themes again---but in
different
instrumentations, and
different keys. At the
final tack-turn, there it
is, for real: Mt. Desert
Island, big as life.
We've made it. As we pull
into the harbor, where
we'll secure the boat for
the night, there's a
feeling of achievement.
Our whale and dolphin
friends return, and we
end our journey with
gratitude and
celebration. I am
profoundly grateful to
Jaclyn Hartenberger,
Professor of Conducting
at the University of
Georgia, for leading the
consortium which provided
the commissioning of this
work. $90.00 - Voir plus => AcheterDélais: 2 to 3 weeks | | |
| Acadia [Conducteur] Theodore Presser Co.
Band Bass Clarinet, Bassoon 1, Bassoon 2, Clarinet, Clarinet 1, Clarinet 2, Clar...(+)
Band Bass Clarinet,
Bassoon 1, Bassoon 2,
Clarinet, Clarinet 1,
Clarinet 2, Clarinet 3,
Contrabass Clarinet,
Contrabassoon, Double
Bass, English Horn,
Euphonium, Flute 1, Flute
2, Horn 1, Horn 2, Horn
3, Horn 4, Oboe 1, Oboe
2, Percussion 1 and more.
SKU: PR.16500103F
Mvt. 3 from Symphony
No. 6 (Three Places in
the East). Composed
by Dan Welcher. Full
score. 60 pages. Theodore
Presser Company
#165-00103F. Published by
Theodore Presser Company
(PR.16500103F). ISBN
9781491131763. UPC:
680160680290. Ever
since the success of my
series of wind ensemble
works Places in the West,
I've been wanting to
write a companion piece
for national parks on the
other side of the north
American continent. The
earlier work, consisting
of GLACIER, THE
YELLOWSTONE FIRES,
ARCHES, and ZION, spanned
some twenty years of my
composing life, and since
the pieces called for
differing groups of
instruments, and were in
slightly different styles
from each other, I never
considered them to be
connected except in their
subject matter. In their
depiction of both the
scenery and the human
history within these
wondrous places, they had
a common goal: awaking
the listener to the
fragile beauty that is in
them; and calling
attention to the ever
more crucial need for
preservation and
protection of these wild
places, unique in all the
world. With this new
work, commissioned by a
consortium of college and
conservatory wind
ensembles led by the
University of Georgia, I
decided to build upon
that same model---but to
solidify the process. The
result, consisting of
three movements (each
named for a different
national park in the
eastern US), is a
bona-fide symphony. While
the three pieces could be
performed separately,
they share a musical
theme---and also a common
style and
instrumentation. It is a
true symphony, in that
the first movement is
long and expository, the
second is a rather
tightly structured
scherzo-with-trio, and
the finale is a true
culmination of the whole.
The first movement,
Everglades, was the
original inspiration for
the entire symphony.
Conceived over the course
of two trips to that
astonishing place (which
the native Americans
called River of Grass,
the subtitle of this
movement), this movement
not only conveys a sense
of the humid, lush, and
even frightening scenery
there---but also an
overview of the entire
settling-of- Florida
experience. It contains
not one, but two native
American chants, and also
presents a view of the
staggering influence of
modern man on this
fragile part of the
world. Beginning with a
slow unfolding marked
Heavy, humid, the music
soon presents a gentle,
lyrical theme in the solo
alto saxophone. This
theme, which goes through
three expansive phrases
with breaks in between,
will appear in all three
movements of the
symphony. After the mood
has been established, the
music opens up to a rich,
warm setting of a
Cherokee morning song,
with the simple happiness
that this part of Florida
must have had prior to
the nineteenth century.
This music, enveloping
and comforting, gradually
gives way to a more
frenetic, driven section
representative of the
intrusion of the white
man. Since Florida was
populated and developed
largely due to the
introduction of a train
system, there's a
suggestion of the
mechanized iron horse
driving straight into the
heartland. At that point,
the native Americans
become considerably less
gentle, and a second
chant seems to stand in
the way of the intruder;
a kind of warning song.
The second part of this
movement shows us the
great swampy center of
the peninsula, with its
wildlife both in and out
of the water. A new theme
appears, sad but noble,
suggesting that this land
is precious and must be
protected by all the
people who inhabit it. At
length, the morning song
reappears in all its
splendor, until the
sunset---with one last
iteration of the warning
song in the solo piccolo.
Functioning as a scherzo,
the second movement,
Great Smoky Mountains,
describes not just that
huge park itself, but one
brave soul's attempt to
climb a mountain there.
It begins with three
iterations of the
UR-theme (which began the
first movement as well),
but this time as up-tempo
brass fanfares in
octaves. Each time it
begins again, the theme
is a little slower and
less confident than the
previous time---almost as
though the hiker were
becoming aware of the
daunting mountain before
him. But then, a steady,
quick-pulsed ostinato
appears, in a constantly
shifting meter system of
2/4- 3/4 in alteration,
and the hike has begun.
Over this, a slower new
melody appears, as the
trek up the mountain
progresses. It's a big
mountain, and the ascent
seems to take quite
awhile, with little
breaks in the hiker's
stride, until at length
he simply must stop and
rest. An oboe solo, over
several free cadenza-like
measures, allows us (and
our friend the hiker) to
catch our breath, and
also to view in the
distance the rocky peak
before us. The goal is
somehow even more
daunting than at first,
being closer and thus
more frighteningly steep.
When we do push off
again, it's at a slower
pace, and with more
careful attention to our
footholds as we trek over
broken rocks. Tantalizing
little views of the
valley at every
switchback make our
determination even
stronger. Finally, we
burst through a stand of
pines and----we're at the
summit! The immensity of
the view is overwhelming,
and ultimately humbling.
A brief coda, while we
sit dazed on the rocks,
ends the movement in a
feeling of triumph. The
final movement, Acadia,
is also about a trip. In
the summer of 2014, I
took a sailing trip with
a dear friend from North
Haven, Maine, to the
southern coast of Mt.
Desert Island in Acadia
National Park. The
experience left me both
exuberant and exhausted,
with an appreciation for
the ocean that I hadn't
had previously. The
approach to Acadia
National Park by water,
too, was thrilling: like
the difference between
climbing a mountain on
foot with riding up on a
ski-lift, I felt I'd
earned the right to be
there. The music for this
movement is entirely
based on the opening
UR-theme. There's a sense
of the water and the
mysterious, quiet deep
from the very beginning,
with seagulls and bell
buoys setting the scene.
As we leave the harbor,
the theme (in a canon
between solo euphonium
and tuba) almost seems as
if large subaquatic
animals are observing our
departure. There are
three themes (call them
A, B and C) in this
seafaring journey---but
they are all based on the
UR theme, in its original
form with octaves
displaced, in an
upside-down form, and in
a backwards version as
well. (The ocean, while
appearing to be
unchanging, is always
changing.) We move out
into the main channel
(A), passing several
islands (B), until we
reach the long draw that
parallels the coastline
called Eggemoggin Reach,
and a sudden burst of new
speed (C). Things
suddenly stop, as if the
wind had died, and we
have a vision: is that
really Mt. Desert Island
we can see off the port
bow, vaguely in the
distance? A chorale of
saxophones seems to
suggest that. We push off
anew as the chorale ends,
and go through all three
themes again---but in
different
instrumentations, and
different keys. At the
final tack-turn, there it
is, for real: Mt. Desert
Island, big as life.
We've made it. As we pull
into the harbor, where
we'll secure the boat for
the night, there's a
feeling of achievement.
Our whale and dolphin
friends return, and we
end our journey with
gratitude and
celebration. I am
profoundly grateful to
Jaclyn Hartenberger,
Professor of Conducting
at the University of
Georgia, for leading the
consortium which provided
the commissioning of this
work. $39.99 - Voir plus => AcheterDélais: 2 to 3 weeks | | |
| Everglades (River of Grass) [Conducteur] Theodore Presser Co.
Band Bass Clarinet, Bassoon 1, Bassoon 2, Clarinet, Clarinet 1, Clarinet 2, Clar...(+)
Band Bass Clarinet,
Bassoon 1, Bassoon 2,
Clarinet, Clarinet 1,
Clarinet 2, Clarinet 3,
Contrabass Clarinet,
Contrabassoon, Double
Bass, English Horn,
Euphonium, Flute 1, Flute
2, Horn 1, Horn 2, Horn
3, Horn 4, Oboe 1, Oboe
2, Percussion 1 and more.
SKU: PR.16500101F
Mvt. 1 from Symphony
No. 6 (Three Places in
the East). Composed
by Dan Welcher. Full
score. 52 pages. Theodore
Presser Company
#165-00101F. Published by
Theodore Presser Company
(PR.16500101F). ISBN
9781491131725. UPC:
680160680252. Ever
since the success of my
series of wind ensemble
works Places in the West,
I've been wanting to
write a companion piece
for national parks on the
other side of the north
American continent. The
earlier work, consisting
of GLACIER, THE
YELLOWSTONE FIRES,
ARCHES, and ZION, spanned
some twenty years of my
composing life, and since
the pieces called for
differing groups of
instruments, and were in
slightly different styles
from each other, I never
considered them to be
connected except in their
subject matter. In their
depiction of both the
scenery and the human
history within these
wondrous places, they had
a common goal: awaking
the listener to the
fragile beauty that is in
them; and calling
attention to the ever
more crucial need for
preservation and
protection of these wild
places, unique in all the
world. With this new
work, commissioned by a
consortium of college and
conservatory wind
ensembles led by the
University of Georgia, I
decided to build upon
that same model---but to
solidify the process. The
result, consisting of
three movements (each
named for a different
national park in the
eastern US), is a
bona-fide symphony. While
the three pieces could be
performed separately,
they share a musical
theme---and also a common
style and
instrumentation. It is a
true symphony, in that
the first movement is
long and expository, the
second is a rather
tightly structured
scherzo-with-trio, and
the finale is a true
culmination of the whole.
The first movement,
Everglades, was the
original inspiration for
the entire symphony.
Conceived over the course
of two trips to that
astonishing place (which
the native Americans
called River of Grass,
the subtitle of this
movement), this movement
not only conveys a sense
of the humid, lush, and
even frightening scenery
there---but also an
overview of the entire
settling-of- Florida
experience. It contains
not one, but two native
American chants, and also
presents a view of the
staggering influence of
modern man on this
fragile part of the
world. Beginning with a
slow unfolding marked
Heavy, humid, the music
soon presents a gentle,
lyrical theme in the solo
alto saxophone. This
theme, which goes through
three expansive phrases
with breaks in between,
will appear in all three
movements of the
symphony. After the mood
has been established, the
music opens up to a rich,
warm setting of a
Cherokee morning song,
with the simple happiness
that this part of Florida
must have had prior to
the nineteenth century.
This music, enveloping
and comforting, gradually
gives way to a more
frenetic, driven section
representative of the
intrusion of the white
man. Since Florida was
populated and developed
largely due to the
introduction of a train
system, there's a
suggestion of the
mechanized iron horse
driving straight into the
heartland. At that point,
the native Americans
become considerably less
gentle, and a second
chant seems to stand in
the way of the intruder;
a kind of warning song.
The second part of this
movement shows us the
great swampy center of
the peninsula, with its
wildlife both in and out
of the water. A new theme
appears, sad but noble,
suggesting that this land
is precious and must be
protected by all the
people who inhabit it. At
length, the morning song
reappears in all its
splendor, until the
sunset---with one last
iteration of the warning
song in the solo piccolo.
Functioning as a scherzo,
the second movement,
Great Smoky Mountains,
describes not just that
huge park itself, but one
brave soul's attempt to
climb a mountain there.
It begins with three
iterations of the
UR-theme (which began the
first movement as well),
but this time as up-tempo
brass fanfares in
octaves. Each time it
begins again, the theme
is a little slower and
less confident than the
previous time---almost as
though the hiker were
becoming aware of the
daunting mountain before
him. But then, a steady,
quick-pulsed ostinato
appears, in a constantly
shifting meter system of
2/4- 3/4 in alteration,
and the hike has begun.
Over this, a slower new
melody appears, as the
trek up the mountain
progresses. It's a big
mountain, and the ascent
seems to take quite
awhile, with little
breaks in the hiker's
stride, until at length
he simply must stop and
rest. An oboe solo, over
several free cadenza-like
measures, allows us (and
our friend the hiker) to
catch our breath, and
also to view in the
distance the rocky peak
before us. The goal is
somehow even more
daunting than at first,
being closer and thus
more frighteningly steep.
When we do push off
again, it's at a slower
pace, and with more
careful attention to our
footholds as we trek over
broken rocks. Tantalizing
little views of the
valley at every
switchback make our
determination even
stronger. Finally, we
burst through a stand of
pines and----we're at the
summit! The immensity of
the view is overwhelming,
and ultimately humbling.
A brief coda, while we
sit dazed on the rocks,
ends the movement in a
feeling of triumph. The
final movement, Acadia,
is also about a trip. In
the summer of 2014, I
took a sailing trip with
a dear friend from North
Haven, Maine, to the
southern coast of Mt.
Desert Island in Acadia
National Park. The
experience left me both
exuberant and exhausted,
with an appreciation for
the ocean that I hadn't
had previously. The
approach to Acadia
National Park by water,
too, was thrilling: like
the difference between
climbing a mountain on
foot with riding up on a
ski-lift, I felt I'd
earned the right to be
there. The music for this
movement is entirely
based on the opening
UR-theme. There's a sense
of the water and the
mysterious, quiet deep
from the very beginning,
with seagulls and bell
buoys setting the scene.
As we leave the harbor,
the theme (in a canon
between solo euphonium
and tuba) almost seems as
if large subaquatic
animals are observing our
departure. There are
three themes (call them
A, B and C) in this
seafaring journey---but
they are all based on the
UR theme, in its original
form with octaves
displaced, in an
upside-down form, and in
a backwards version as
well. (The ocean, while
appearing to be
unchanging, is always
changing.) We move out
into the main channel
(A), passing several
islands (B), until we
reach the long draw that
parallels the coastline
called Eggemoggin Reach,
and a sudden burst of new
speed (C). Things
suddenly stop, as if the
wind had died, and we
have a vision: is that
really Mt. Desert Island
we can see off the port
bow, vaguely in the
distance? A chorale of
saxophones seems to
suggest that. We push off
anew as the chorale ends,
and go through all three
themes again---but in
different
instrumentations, and
different keys. At the
final tack-turn, there it
is, for real: Mt. Desert
Island, big as life.
We've made it. As we pull
into the harbor, where
we'll secure the boat for
the night, there's a
feeling of achievement.
Our whale and dolphin
friends return, and we
end our journey with
gratitude and
celebration. I am
profoundly grateful to
Jaclyn Hartenberger,
Professor of Conducting
at the University of
Georgia, for leading the
consortium which provided
the commissioning of this
work. $36.99 - Voir plus => AcheterDélais: 2 to 3 weeks | | |
| Opera Omnia Ut Orpheus
Orchestra; Violin SKU: UT.NAP-4 Vol. 1. Critical Edition. Composed...(+)
Orchestra; Violin SKU:
UT.NAP-4 Vol. 1.
Critical Edition.
Composed by Nicola
Fiorenza. Edited by
Giovanni Borrelli.
Hardback (Cloth Hard
Cover). Napoli e
l’Europa (Naples
and Europe). Classical.
Critical commentary. Ut
Orpheus #NAP 4. Published
by Ut Orpheus (UT.NAP-4).
ISBN 9790215318373. 9
x 12
inches. Concerto
in Mi bem. magg. per
Violino principale, 2
Violini, Viola e Basso;
Concerto in Re min. per 2
Violini e Basso (1728);
Concerto in La magg. per
3 Violini e Basso
(1728)_x0008_; Concerto
in La min. per 3 Violini
e Basso (1727)_x0008_;
Concerto in La min. per 3
Violini e Basso; Sinfonia
in Fa min. a 2 Violini e
Basso; Sinfonia in Sol
magg. a 3 Violini e
Basso; Sinfonia fugata in
Fa min. a 3 Violini e
Basso; Sinfonia in Do
min. a 4 Violini e Basso;
Trio in Si min. per 2
Violini e
Cembalo
Nicola
Fiorenza (1700?-1764),
composer and virtuoso
Neapolitan violinist,
lived during the first
half of the 1700s. His
musical production, whose
manuscripts are preserved
for the big part in the
Library of the
Conservatorio di Musica
S. Pietro a Majella in
Naples, is composed of 15
concerts with different
instrumental organics, 9
symphonies whose
principal instrument is
the violin – that
sometimes proposes pieces
with a lot of
virtuosities typical of
the solo concert
–, some pieces for
one or two instruments
with continuo and two
cantatas. Skilled
virtuoso, Fiorenza had
assimilated both the
style of the elegant
Baroque of French school,
and the a terrazze style,
the improvised language
typical of the Venetian
composers. He knew the
style of the Concerto
Grosso of Corelli very
well, to which he joined
a dressy counterpoint
maybe too much present
for the style of that
time. Fiorenza elaborated
different styles,
filtering them through
his sensitive
predilection towards the
Neapolitan party music
and the popular melody,
developing a personal
composite language that
doesn’t consider
him belonging to one of
the schools of his time.
From a formal point of
view and for the choice
of the instrumental
organic, his compositions
have not a strong
stylistic individuality
in comparison with the
composite canons of the
first part of the XVIII
century, but the
production of Fiorenza
seems to reflect the
schemes and the composite
forms typical of the late
Baroque. His choice of
the incisive brevity of
the thematic figures is
typical of the XVII
century, that almost
never overcomes the
breath and the circle of
one or few beats.
Fiorenza’s solo
compositions show his
research of virtuosities,
but he never lapses into
a rash virtuosity, on the
contrary he maintains a
gallant taste. $214.95 - Voir plus => AcheterDélais: 3 to 4 weeks | | |
| Encyclopedia of Classical Piano Music Piano seul [Partition] FJH
By Robert Schultz And Tina Faigen. For Piano. Robert Schultz Piano Library. Work...(+)
By Robert Schultz And
Tina Faigen. For Piano.
Robert Schultz Piano
Library. Works include:
Pachelbel's Canon in D;
Elgar's Pomp and
Circumstance, and the
Wedding March from
Mendelssohn, among
others. Level: Elementary
- Intermediate. Book.
Published by The FJH
Music Company Inc.
$18.95 - Voir plus => AcheterDélais: 1 to 2 weeks | | |
| Easy Classical Duets 2 Piano seul - Facile Willis Music
Composed by Various. Arranged by Melody Bober, Carolyn Miller, Eric Baumgartne...(+)
Composed by Various.
Arranged
by Melody Bober, Carolyn
Miller, Eric Baumgartner,
and
Glenda Austin. Willis.
Classical, Duet.
Softcover.
Duration 180 seconds.
Published by Willis Music
$12.99 - Voir plus => AcheterDélais: 24 hours - In Stock | | |
| Chamber Music for Three Flutes Trio de Flûtes: 3 flûtes Rubank Publications
Full Score. By Various. Arranged by Himie Voxman. (Flute). Ensemble. Size 9x12 ...(+)
Full Score. By Various.
Arranged by Himie Voxman.
(Flute). Ensemble. Size
9x12 inches. 32 pages.
Published by Rubank
Publications.
$7.99 - Voir plus => AcheterDélais: 24 hours - In Stock | | |
| Christopher Parkening - Duets and Concertos Guitare notes et tablatures Guitare classique [Partition] Hal Leonard
By Christopher Parkening. Guitar Recorded Version. Softcover. Guitar tablature. ...(+)
By Christopher Parkening.
Guitar Recorded Version.
Softcover. Guitar
tablature. 234 pages.
Published by Hal Leonard.
$24.99 - Voir plus => AcheterDélais: 24 hours - In Stock | | |
| Pachelbel Canon 2 Saxophones (duo) [Conducteur et Parties séparées] Theodore Presser Co.
(for Two Eb Alto Saxophones and Piano). Composed by Johann Pachelbel (1653-1706)...(+)
(for Two Eb Alto
Saxophones and Piano).
Composed by Johann
Pachelbel (1653-1706).
Arranged by Daniel Dorff.
For alto saxophone duet
and piano. Baroque. Score
and parts. Duration 4
minutes. Theodore Presser
Company #114-41782.
Published by Theodore
Presser Company
$9.99 - Voir plus => AcheterDélais: 1 to 2 weeks | | |
| Easy Piano Classical Anthology (International Edition) Piano seul - Facile Alfred Publishing
44 All Time Classical Songs Arranged for Easy Piano. Arranged by Franco Conc...(+)
44 All Time Classical
Songs
Arranged for Easy Piano.
Arranged by Franco
Concino.
Masterworks; Piano - Easy
Piano Collection.
Classical;
Masterwork Arrangement.
Book.
Alfred Music #99-MB397.
Published by Alfred Music
$26.50 - Voir plus => AcheterDélais: 1 to 2 weeks | | |
| D'une melodie a l'autre - Volume 2 [Conducteur] - Facile Lemoine, Henry
Music teaching - Level 2 SKU: LM.27843 Composed by Elisabeth Lamarque and...(+)
Music teaching - Level 2
SKU: LM.27843
Composed by Elisabeth
Lamarque and Marie-Jose
Goudard. Method, studies.
Score. Editions Henry
Lemoine #27843. Published
by Editions Henry Lemoine
(LM.27843). ISBN
9790230978439. ABOU
LKER : Final
d'Atchafalaya (duo) -
ABSIL : Houp la-la !
(Chansons plaisantes -
duo) - ABSIL :
Marionnettes (Chansons
plaisantes - duo) -
BEETHOVEN : Der Abschied
- BERNSTEIN : I Feel
Pretty (West Side Story)
- BERNSTEIN : Tonight
(West Side Story) - B!ZET
: Pastorale - BRAHMS :
Die Meer Op.20 n. 3 (duo)
- CHERUBINI : Duetto I
(duo) - GRIEG : Guten
Morgen Op.21 n. 1 - LISZT
: Es muss ein Wunderbares
sein - MENDELSSONN :
Sonntagsmorgen Op.77 n. 1
(duo) - MILHAUD : Chanson
de troubadour : MOZART :
Ridente la calma - MOZART
: Canon O du eselhafter
Martin (4 voix) - SATIE :
Allons-y Chochotte -
SAUGUET : L'Alchimiste au
regard d'ambre (7
Chansons de l'alchimiste)
SCHUBERT : Schafers
klagelied - SCHUMANN : ln
meinem Garten (trio) -
SEVERAC de : Philis -
STOLZEL : Bist du bei mir
- WIENER : Le Glaieul
(Chantefables) - WIENER :
Le Leopard (Chantefables)
- WOLF : Nacht Op.10 n.
3. $28.95 - Voir plus => AcheterDélais: 3 to 4 weeks | | |
| The Big Book of Classics For Easy Piano Piano seul - Facile Santorella Publications
The Big Book of Classics for Easy Piano for easy piano. This edition: Paperback....(+)
The Big Book of Classics
for Easy Piano for easy
piano. This edition:
Paperback. Collection.
Classical. Easy. Book.
Text Language: English.
132 pages. Published by
Santorella Publications
$18.95 - Voir plus => AcheterDélais: 1 to 2 weeks | | |
| Johann Pachelbel: Pachelbel Canon
Piano Trio: piano, violon, violoncelle [Set de Parties séparées] Theodore Presser Co.
Composed by Johann Pachelbel (1653-1706), arranged by Daniel Dorff. Set of perfo...(+)
Composed by Johann
Pachelbel (1653-1706),
arranged by Daniel Dorff.
Set of performance parts
for violin, cello and
piano. D Major. 9 pages.
Published by Theodore
Presser Company.
(3)$9.99 - Voir plus => AcheterDélais: 1 to 2 weeks | | |
| Essential Keyboard Repertoire, Volume 5 (requiring A Handspan Of An Octave Or Less) - Book Only Piano seul [Partition] - Facile Alfred Publishing
(83 Early / Late Intermediate Selections Requiring a Hand Span of an Octave or L...(+)
(83 Early / Late
Intermediate Selections
Requiring a Hand Span of
an Octave or Less).
Edited by Maurice Hinson.
For Piano. Piano
Collection. Essential
Keyboard Repertoire.
Masterwork. Early
Intermediate / Late
Intermediate. Book. 164
pages. Published by
Alfred Music Publishing
$19.99 - Voir plus => AcheterDélais: 24 hours - In Stock | | |
| Jacques Nahoum: Canon in D 3 Flûtes à bec (trio) [Conducteur] Heugel
3 Recorders SKU: BT.ALHE32026 Composed by Jacques Nahoum. Classical. Scor...(+)
3 Recorders SKU:
BT.ALHE32026 Composed
by Jacques Nahoum.
Classical. Score Only.
Heugel & Cie #ALHE32026.
Published by Heugel & Cie
(BT.ALHE32026).
French. SSS
recorders $2.95 - Voir plus => AcheterDélais: 2 to 3 weeks | | |
| Canon In D (recorders 3) 3 Flûtes à bec (trio) Heugel
3 Recorders SKU: HL.48188051 Composed by Jacques Nahoum. Leduc. Classical...(+)
3 Recorders SKU:
HL.48188051 Composed
by Jacques Nahoum. Leduc.
Classical. Softcover.
Heugel & Cie #HE32026.
Published by Heugel & Cie
(HL.48188051).
SSS
recorders. $1.70 - Voir plus => AcheterDélais: 2 to 3 weeks | | |
| John Brimhall's Pre-Band Instrument Method [Partition] Alfred Publishing
(67 Solos, Duets & Trios). By John Brimhall. Method/Instruction; Pre-Instrument....(+)
(67 Solos, Duets &
Trios). By John Brimhall.
Method/Instruction;
Pre-Instrument. Book. 32
pages. Published by
Alfred Music Publishing
$4.95 - Voir plus => AcheterDélais: 24 hours - In Stock | | |
| Essential Keyboard Repertoire, Volume 4 - Book Only Piano seul [Partition] - Facile Alfred Publishing
85 Early / Late Intermediate Selections in Their Original Form - Baroque to Mode...(+)
85 Early / Late
Intermediate Selections
in Their Original Form -
Baroque to Modern. Edited
by Maurice Hinson. For
Piano. Piano Collection.
Essential Keyboard
Repertoire. Masterwork.
Level: Early Intermediate
/ Late Intermediate.
Book. 128 pages.
Published by Alfred
Publishing.
$16.99 - Voir plus => AcheterDélais: 1 to 2 weeks | | |
| Guitare Et Education Musicale - Volume Musique D'Ensemble 4 Guitares (Quatuor) Guitare classique [Conducteur] - Débutant Lemoine, Henry
By Jorge Martinez-Zarate / Hector Farias. For 4 guitars. Classical. Grade 1. Sco...(+)
By Jorge Martinez-Zarate
/ Hector Farias. For 4
guitars. Classical. Grade
1. Score. 28 pages.
Published by Editions
Henry Lemoine
$26.95 - Voir plus => AcheterDélais: 3 to 4 weeks | | |
| Overture La Putain Lucks Music Library
(cem,str) SKU: TM.01649SET Composed by Georg Telemann. Edited by Noack. S...(+)
(cem,str) SKU:
TM.01649SET Composed
by Georg Telemann. Edited
by Noack. Set Type: D.
Set of parts. Lucks Music
Library #A6378. Published
by Lucks Music Library
(TM.01649SET).
Does not incl
#12 Trio Sonata (see
#650-5603). No. 1
Ricercar, No. 2 Canon
perpetuus super Thema
Regium, No. 3 Canon 1 a
2, No. 4 Canon 2 a 2
Violini in Unisono, No. 5
Canon 3 a 2 per Motum
contrarium, No. 6 Canon 4
a 2 per Augmentationem
contrario Motu, No. 7
Canon 5 a 2, No. 8 Fuga
canonica in Epidiapente,
No. 9 Ricercar a 6, No.
10 Canon a 2 Quaerendo
invenietis, No. 11 Canon
a 4, No. 12 Sonata Siehe
die gesondert beiliegende
Stimme, No. 13 Canon
perpetuus. $60.00 - Voir plus => AcheterDélais: 2 to 3 weeks | | |
| Theme and Variations on Shenandoah - Intermédiaire Alfred Publishing
B-Flat Instruments; Clarinet; Piano; Other Percussion - Late Intermediate SKU...(+)
B-Flat Instruments;
Clarinet; Piano; Other
Percussion - Late
Intermediate SKU:
AP.48655 For
B-flat Clarinet,
Percussion, and
Piano. Composed by E.
L. Lancaster and Gayle
Kowalchyk. Piano with
Other Instruments; Solo
Small Ensembles; Trio.
Form: Variations. Folk;
Traditional. Book. 8
pages. Alfred Music
#00-48655. Published by
Alfred Music (AP.48655).
ISBN 9781470643676.
UPC: 038081558998.
English. In these
variations for B-flat
clarinet, percussion, and
piano, the haunting theme
of the folk song
Shenandoah begins in the
clarinet. The piano
follows with all three
instruments coming
together in a lush
setting. The five
variations were inspired
by famous pieces: Take
Five, Canon in D, the
Minute Waltz,
Rachmaninoff's Piano
Concerto No. 2, and The
Entertainer. $9.99 - Voir plus => AcheterDélais: 1 to 2 weeks | | |
| Classical Favorites for Electric Bass Basse electrique Mel Bay
Solos and Duets. Composed by Chuck Bianchi. Squareback saddle stitch, Solo...(+)
Solos and Duets. Composed
by
Chuck Bianchi. Squareback
saddle stitch,
Solos/Duets/Ensembles,
Featured Products,
Technique,
Theory and Reference,
Classical. Style. Book.
88
pages. Mel Bay
Publications,
Inc #30654. Published by
Mel
Bay Publications, Inc
$19.99 - Voir plus => AcheterDélais: 24 hours - In Stock | | |
| Easy Organ Pieces from the 19th Century, Volume 4 Orgue [Conducteur] Barenreiter
Edited by Weyer, Martin. For Organ. Playing score. Collection. 63 pages. Publish...(+)
Edited by Weyer, Martin.
For Organ. Playing score.
Collection. 63 pages.
Published by Baerenreiter
Verlag (German import).
$46.95 - Voir plus => AcheterDélais: 1 to 2 weeks | | |
| Canon In D Major [Conducteur et Parties séparées] - Facile FLEX Editions
Chamber Music, Trio, Duet 2 Violas 1 Piano - Grade 3 SKU: FL.FX073236 Com...(+)
Chamber Music, Trio, Duet
2 Violas 1 Piano - Grade
3 SKU: FL.FX073236
Composed by Johann
Pachelbel. Arranged by
Sarah Labrousse-Baert.
Arrangement. Classical,
Educational, Baroque.
Score and Set of Parts.
Duration 3 minutes, 45
seconds. FLEX Editions
#FX073236. Published by
FLEX Editions
(FL.FX073236).
Instruments: 2
Violas 1 Piano; Difficuly
Level: Grade 3. $10.95 - Voir plus => AcheterDélais: 4 to 6 weeks | | |
| Christmas Carols and Classics Piano seul - Intermédiaire/avancé Lillenas Publishing Co.
Composed by Gail Smith. For piano. Sacred, Christmas. Moderately advanced. Lille...(+)
Composed by Gail Smith.
For piano. Sacred,
Christmas. Moderately
advanced. Lillenas
Publishing Company
#9780787714932. Published
by Lillenas Publishing
Company
$26.95 - Voir plus => AcheterDélais: 1 to 2 weeks | | |
| Symphony No. 44 (Trauer) Piano seul Edition HH
Piano solo SKU: HH.HH508-SOL Composed by Franz Joseph Haydn. Edited by Sa...(+)
Piano solo SKU:
HH.HH508-SOL Composed
by Franz Joseph Haydn.
Edited by Sarah Jenner.
Arranged by C.D.
Stegmann. Playing score.
Edition HH Music
Publishers #HH508-SOL.
Published by Edition HH
Music Publishers
(HH.HH508-SOL). ISBN
9790708185185. Symp
hony No. 44 is one of a
number of Haydn’s
middle period works often
regarded as representing
the so-called Sturm und
Drang (‘Storm and
Stress’) style of
melodramatic realism
taken over from
contemporary German
literary and dramatic
models. The symphony is
monotonal – each
movement being in the
same key, with contrast
provided by excursions
into the tonic major.
Contrapuntal writing
pervades the whole work;
the second movement,
unusually, is a minuet
and is a strict double
canon at one bar’s
interval (‘Canone
in Diapason’ is
Haydn’s term)
which itself is
contrasted by the lyrical
Trio section in the tonic
major. The third
movement, an Adagio in
the tonic major, prompted
the symphony’s
long-adopted soubriquet,
‘Trauer’
(‘Mourning’)
as it was said to have
been requested by the
composer himself to be
played at his own
funeral.2 The
monothematic contrapuntal
Finale reverts to the
tense emotional level of
the opening Allegro. $18.95 - Voir plus => AcheterDélais: 4 to 6 weeks | | |
| Musical Offering, The, BWV 1079 Soli, choeur mixte et accompagnement [Conducteur] Lucks Music Library
(1.3.0.1/0.0.0.0,ob d'Amore,ob da Caccia,va da gamba,cem,str=1-1-1.1.1-1 .0) ...(+)
(1.3.0.1/0.0.0.0,ob
d'Amore,ob da Caccia,va
da
gamba,cem,str=1-1-1.1.1-1
.0) SKU:
TM.01536SC Composed
by Johann Sebastian Bach.
Score. Lucks Music
Library #A3032. Published
by Lucks Music Library
(TM.01536SC).
Does not incl
#12 Trio Sonata (see
#650-5603). No. 1
Ricercar, No. 2 Canon
perpetuus super Thema
Regium, No. 3 Canon 1 a
2, No. 4 Canon 2 a 2
Violini in Unisono, No. 5
Canon 3 a 2 per Motum
contrarium, No. 6 Canon 4
a 2 per Augmentationem
contrario Motu, No. 7
Canon 5 a 2, No. 8 Fuga
canonica in Epidiapente,
No. 9 Ricercar a 6, No.
10 Canon a 2 Quaerendo
invenietis, No. 11 Canon
a 4, No. 12 Sonata Siehe
die gesondert beiliegende
Stimme, No. 13 Canon
perpetuus. $40.00 - Voir plus => AcheterDélais: 2 to 3 weeks | | |
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